Francesca Caccini: La Liberazione Di Ruggiero Dall'isola D'alcina

FILOZOFICKÁ FAKULTA

Francesca Caccini: La liberazione di Ruggiero dall'isola d'Alcina

Bakalářská diplomová práce

OKSANA VENZHEHA

Vedoucí práce: prof. PhDr. Miloš Štědroň, CSc.

Ústav hudební vědy Hudební věda

Brno 2021

FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA

Bibliografický záznam

Autor: Oksana Venzheha Filozofická fakulta Masarykova univerzita Ústav hudební vědy

Název práce: Francesca Caccini: La liberazione di Ruggiero dall'isola d'Alcina

Studijní program: Hudební věda

Vedoucí práce: prof. PhDr. Miloš Štědroň, CSc.

Rok: 2021

Počet stran: 87

Klíčová slova: Itálie, Francesca Caccini, 17. století, opera, baroko, balletto

2 FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA

Bibliographic record

Author: Oksana Venzheha Faculty of Arts Masaryk University Department of Musicology

Title of Thesis: Francesca Caccini: La liberazione di Ruggiero dall'isola d'Alcina

Degree Program: Musicology

Supervisor: prof. PhDr. Miloš Štědroň, CSc.

Year: 2021

Number of Pages: 87

Keywords: Italy, Francesca Caccini, 17th century, Baroque, opera, balletto

3 FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA

Abstract

This bachelor’s thesis deals with an opera La liberazione di Ruggiero dall'isola d'Alcina by Francesca Caccini, composed in 1625 for the feast in Florence dedicated to the visit of Ladislaus IV of Poland. It is the only extant big theatrical work from Francesca Caccini. The aims of this thesis are therefore to update the state of research about Francesca Caccini and all the no- torious information about her and the perception of her opera; describe the genesis and production of this work and identify its place in the historical context. The thesis also includes composer’s biography and is completed with an analysis of libretto and music.

4 FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA

Anotace

Tato bakalářská práce pojednává o opeře La liberazione di Ruggiero dall'isola d'Alcina od Francescy Caccini, složené v roce 1625 ke příležitosti návštěvy polského prince Ladislava IV. Vasy ve Florencii v období karnevalu. Je to jediné velké divadelní dílo od Francescy Caccini, které se dochovalo. Cílem této práce je proto aktualizovat stav výzkumu o Francesce Caccini a všechny již doposud zjištěné informace o ní a vnímání její opery; popsat vznik a produkci tohoto díla a jeho místo v historickém kontextu své doby. Důležitou součástí práce je také biografie skladatele a je doplněna analýzou libreta a hudby.

FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA

Čestné prohlášení

Prohlašuji, že jsem bakalářskou práci na téma Francesca Caccini: La liberazione di Ruggiero dall'isola d'Alcina vypracovala samostatně pod vedením prof. Miloše Štědroně a uvedla v ní všechny použité literární a jiné odborné zdroje v souladu s právními předpisy, vnitřními předpisy Masarykovy univerzity a vnitřními akty řízení Masarykovy univerzity a Filozofické fakulty MU.

V Brně 13. března 2021 ...... Oksana Venzheha

FRANCESCA CACCINI: LA LIBERAZIONE DI RUGGIERO DALL'ISOLA D'ALCINA

Poděkování

Na tomto místě bych ráda poděkovala vedoucímu své práce prof. PhDr. Miloši Štědroňovi, CSc. za jeho lidský akademický přístup, nesmírnou ochotu se kterou k mé práci přistupoval a trpělivost při jejím psaní. Další poděkování náleží Giorgiu Cadorinimu, Dottore in Lettere, Ph.D., jehož podnětné rady a vstřícnost inspirovaly mne v průběhu psání práci. V neposlední řadě děkuji své rodině a přátelům za psychickou podporu a zejména své kolegyni Evgenii Tokmakově za její neocenitelnou technickou pomoc.

LIST OF FIGURES

Table of contents

List of figures 12

List of tables 14

1 Introduction 15

2 Francesca Caccini (1587–1641) 18 2.1 State of Research ...... 18 2.2 Francesca Caccini at the Medici Court ...... 22

3 Opera La liberazione di Ruggiero dall’isola d’Alcina 27 3.1 Historical Context ...... 27 3.2 Diffusion of Opera around 1625 ...... 28 3.3 Performance and Staging Circumstances of the Opera ...... 31 3.3.1 Florence (1625) ……………………………………………………………31 3.3.2. Warsaw (1628) ……………………………………………….…………….33

4 Analysis 35 4.1 Libretto ...... 40 4.2 Music ...... 44

5 Conclusions 67

6 Summary 69

Bibliography 70

Appendix A 79

Appendix B 80

11 LIST OF TABLES List of figures

Figure 1. The list of performers of the dancing roles from the fac-simile edition of La liberazione di Ruggiero dall’isola d’Alcina………………………32

Figure 2. Sinfonia……………………………………………………………………………..47

Figure 3. Figure 3. Prologue, the first appearing of Nettunno “Non perchè congiurati...” ………………………....………………………………………………………..49

Figure 4. Figure 4. Prologue, the second appearing of Nettuno “Ma per mirare…” …………………………………………………….……………………………….…50

Figure 5. Prologue, the third appearing of Nettuno “Meco venite…” ……51

Figure 6. Ritornello from the prologue. Fac-simile edition, 1998 ……….52

Figure 7. Ritornello from the prologue, transcription………………………...52

Figure 8. Prologue, choir of Numi dell’acque………………………………….….53

Figure 9. Claudio Monteverdi: opera L’Orfeo, scene I, choir “Vieni, Imeneo, deh vieni...” ...... 53

Figure 10. Prologue, the fifth and sixth appearing of Nettunno…….…….54

Figure 11. Scene I, Melissa: „Cosi perfida Alcina…“...... 55

12 LIST OF FIGURES

Figure 12. Scene I, ritornello……………………………………………………….……56

Figure 13. Scene I, Due Damigelle: “Gentil Ruggiero D’amor...”...... ,,...... 57

Figure 14. Scene I, Ruggiero: “Quanto per dolce…”...... ,,,,...... 58

Figure 15. Scene I, Alcina: “Ah, non ti perder gioco...”...... ,,,,,...59

Figure 16. Scene II, Alcina: “Così condisci ingrato…”...... 60

Figure 17. Claudio Monteverdi: L’Orfeo. Second appearing of Euridice “Ahi vista troppo dolce…”...... 61

Figure 18. Claudio Monteverdi: L’Orfeo. Second appearing of Euridice “Ahi vista troppo dolce…”, transcription……………………………………….….62

Figure 19. Scene I, Una delle piante incantate: „Lasso, qual vista atroce…“...... 64

Figure 20. Claudio Monteverdi: choir ritornel “Apprendete pietà” from Ballo delle ingrate. Over-written from the edition of Luigi Torchi. L’arte musicale in Italia/ G. Ricordi a C., Milano, p. 237 ...... 65

Figure 21. Example from the ending of La liberazione…………………….…66

13 LIST OF TABLES List of tables

Table 1. The harmonic progression of sinfonia…………...... 48

14 INTRODUCTION

1 Introduction

This work aims to contribute to the research about Francesca Caccini, an early-baroque Florentine composer, with the historical placement and analysis of the opera entitled La liberazione di Ruggiero dall´isola d´Alcina (The Liberation of Ruggiero from the Island of Alcina). This opera has been created for the Medici court in Florence and performed for the first time on February 3, 1625, at the Villa Poggio Imperiale in honor of prince Ladislaus IV of Poland (1595–1648). The original manu- script belongs to Collezione Villa Maffei Poggiolini in Florence and is kept there. La liberazione is one of a few works or Francesca Caccini that have survived till our days, the other ones are several pieces from La tancia and Il passatempo from the year 1618, and a collection of thirty-six sacred and secular songs for the two voices and madrigals of various styles in Italian and Latin languages entitled Il primo libro delle musiche. La liberazione played a big role not only in her own career but also in the music history, as it was probably the first musical opera created by a woman composer. In spite the fact that today it is considered to be a comic opera, Francesca Caccini in collaboration with the librettist Ferdi- nando Saracinelli identified it both in the score and libretto as an opera- balletto. The basis for this thesis is a fac-simile edition of the score and libretto, containing five engravings of the sets by Giulio Parigi. The year of its print coincides with the first stage representation of La liberazione in modern times at Teatro Metastasio in Prato on the 20th of December 1998. The

15 INTRODUCTION original print from the year 1625 was executed by Pietro Cecconcelli in Florence.1 The thesis is introduced by the chapter with a state of research. There I will focus on a summary of the current state of knowledge closely related to the subject. Further in the individual chapters we will first deal with the composer’s personality and life. The next chapter will focus on the circumstances of the opera performance at the court in Florence and three years later in Warsaw, a ceremonial occasion on which the work was studied and performed. The basis of the final section of this thesis will be an analysis of certain musical examples from the opera compared with relative pieces from Monteverdi’s L’Orfeo and Ballo delle ingrate in order to see whether the features of seconda prattica are present in Cac- cini’s works. The genesis of libretto by Ferdinando Saracinelli makes a part of the analysis as well. The personality and music of Francesca Caccini has interested many researchers and those out of the sphere of musicology. Thanks to the series of articles by Maria Giovanna Masera in the 1940s, her life and music was returned into attention. Among those who made an important contribution to the research on Francesca Caccini and her music there can be named such scholars as Doris Silbert, who also released a modern edition of the opera2; Caroline Raney with her introduction to Caccini in 1965, and others. Nowadays Francesca Caccini and her music are still being rediscovered due to the high interest of society towards women’s activities. And therefore, unsurprisingly, the most prolific researcher on

1 CACCINI, Francesca. La liberazione di Ruggiero dall’isola d’Alcina. Firenze: Pietro Cecconcelli, 1625. 2 La liberazione di Ruggiero, in Smith College Archives, Northampton, MA, Ed. Doris Sil- bert., 1945.

16 INTRODUCTION this topic is Suzanne Cusick, an American musicologist with a feminist approach. She wrote a monograph entitled Francesca Caccini at the Medici Court: Music and the Circulation of Power, in which Caccini is considered to be not only the first woman composer creating operas, but also a person that influenced the circulation of power in the Medici court with her music that has been created for the political needs. Also, examining her letters, Cusick studies her relationships with other artists that had been in contact with her, such as for example Michelangelo Buona- rotti the Younger, who wrote many texts set by Francesca, and Christo- foro Bronzini.

17 FRANCESCA CACCINI

2 Francesca Caccini

2.1 State of Research

Whereas Francesca Caccini is still rather unknown to the public, most of the works about her are based on the biography written in a form of a dictionary entry and repeat the content and the views of each other. Some of them provide the formal analysis of her music with not much being said about the harmonics. Only her Il Primo libro delle musiche has been fully analyzed3, while her only extant opera La liberazione di Ruggi- ero dall’isola d’Alcina only partially. One of the earliest sources in which Francesca Caccini has been mentioned is Lexicon Der Tonkünstler by Ernst Ludwig Gerber from the year 1790.4 According to the author5, Caccini was “one of the best singers of her time, but also a composer and poet, writing in Latin and Italian", he also mentions her nickname La Cecchina6. Having connections with France, Francesca is an interesting study subject for the French musicology. Therefore, she appears in a publica- tion of a French musicologist Adriano de la Fage, who had been working

3 LOBATO MIRANDA, Marina. Francesca Caccini (1587-1641): Composer, Performer, and Professor Represented in Il Primo Libro Delle Musiche. Thesis, Georgia State University, 2014. 4 GERBER, Ernst Ludwig. Historisch-Biographisches Lexicon Der Tonkünstler, Welches Nachrichten Von Dem Leben Und Werken Musikalischer Schriftsteller, Berühmter Componisten, Sänger Etc... Enthält. Leipzig: J. G. I. Breitkopf, to 1792, 1790. 5 Ibid., volume 72, p. 591. 6 In Italian „singing bird “.

18 FRANCESCA CACCINI for the House of Medici in Florence, too. The article7 written for Gazzetta Musicale di Milano had been released in 1847. F. J. Fétis in his Biographie universelle des musiciens also mentions her talent for musical composition as well as her singing skills. Though in that article Fétis misidentified the years of her life, he precisely described La Liberazione, and for the other works created by Caccini he indicated the libraries in which they are preserved. Later Oscar Chilesotti publishes an article about her opera in Gazzetta Musicale di Milano8 reviewing the perception of the opera and its plot without musical analysis. In 1905 Angelo Solerti writes his Musica, ballo e drammatica alla corte medicea dal 1600 al 1637, where mentions the Caccini family several times. There he cites Francesca as both a singer and a composer following first of all the way performances were produced and their historical context, not being focused primarily on Francesca Caccini. Another researcher dealing with the topic is Arnaldo Bonaventura. In his article entitled A portrait of Cecchina (Un ritratto della Cecchina) for an Italian magazine La cultura musicale released in the year 1922, he collected the information known at that time and extrapolated it to the personality of Caccini, focusing on her career and the relationships she had with the contemporaries. A short article from him appears as well in Enciclopedia Italiana from the year 1930.

7 De la FAGE, Adriano. “La prima compositrice di opere in musica; e la sua opera.” Gaz- zetta Musicale di Milano, 10 November 1847, 354-55. 8 CHILESOTTI, Oscar. La liberazione di Ruggiero dall’isola d’Alcina di Francesca Caccini (Cont. e fine, vedi N. 32 e 33). Gazzetta Musicale di Milano, 20 August 1896, 573-75.

19 FRANCESCA CACCINI

In the 1940s a contribution to the topic has been made by Maria Gio- vanna Masera. With her three publications9, all for La Rassegna Musicale, she drew more attention of researchers to Caccini. Matteo Gliński speaks10 about La Liberazione as of the first Italian opera to be played outside of Italy (Susanne Cusick states11 that it was a wrong conclusion) and follows up its way from the Medici court to Po- land, where it premiered in 1628. In the 1960s Caroline Raney continued the study with a series of works dedicated to Caccini. The works introduces her biography based on the correspondence, provides us with the style analysis within Il Primo Libro, but also one piece from La Liberazione. These publications have been definitely important for the promotion of the topic. Liliana Pannella wrote an entry for Dizionario Biografico degli Italiani in 1973 and provided extensive information on the life and work of the composer. A detailed bibliography is present as well. Since then, the personality of Francesca Caccini gets gradually more involved in different studies and articles, and so we can find her in publications for example by Mariangela Cappelli in Dizionario enciclopedica della musica e dei

9 MASERA, Maria Giovanna. Alcune lettere inedite di Francesca Caccini in La rassegna musicale, 28 April 1940, 173-82. Una musicista fiorentina del seicento: Francesca Caccini parte prima: La vida. La rassegna musicale, 19 May 1941, 181-207. Una musicista fiorentina del seicento; Francesca Caccini, in La Rassegna Musicale 15, 1942, p. 249-66. 10 GLINSKI, Matteo. La prima stagione lirica italiana all’estero (1628). Siena: Ticci Ei- tore Libraio, 1943. 11 Hanning, Barbara R., Suzanne G. Cusick, and Susan Parisi. "Caccini family (opera)." Grove Music Online. 2002. Oxford University Press. Date of access 21 Apr. 2021,

20 FRANCESCA CACCINI musicisti (mentiones Caccini’s collaborations with other authors such as Marco da Gagliano and Jacopo Cicognini and the works that have been lost); Alessandro Magini wrote a preface for the facsimile edition of La liberazione; there is an entry from John Walter Hill in Die Musik in Ges- chichte und Gegenwart; William Gradante and Iain Fenlon in The New Grove Dictionary of Music and Musicians; Tim Carter, an Australian musicologist specializing in late Renaissance and Baroque Italian music; Warren Kirkendale focusing on the music in Florence of Medici and men- tioning Francesca in his monograph The court musicians in Florence during the principate of the Medici. Exists also a series of works from Polish researchers such as Adamczyk M., Zygmunt Szweykowski, and Ewa Kawczyńska who made a Polish translation of Cusick’s article. This interest is due to the direct con- nection of La liberazione with Poland because, as mentioned earlier, the opera was primarily created as an homage to the prince Ladislaus IV of Poland12 visiting Florence during the period of the carnival in 1625, and its second premiere was in Warsaw in 1628.13 Slightly different methodology is used by the representatives of gender studies. More attention has been paid to Francesca Caccini especially in the recent decades due to the bigger interest in music of 17th century and development of feminism in society. The fact that she was a success- ful woman composer makes her a captivating study for the researchers examining the effects of her femininity and her social position as well as her unique training as a composer on her music. Therefore, in the early

12 Ladislaus IV of Poland (1595–1648), king of Poland, Grand Duke of Lithuania and titular King of Sweden, whose regency lasted from 1632 until his death in 1648. 13 CUSICK, Suzanne. Francesca Caccini at the Medici Court: Music and the Circulation of Power. Chicago and London: The University of Chicago Press, 2009, p. 191.

21 FRANCESCA CACCINI

2000s Suzanne Cusick, an American musicologist with a feminist approach, has published numerous studies on this topic researching especially Caccini’s activity at the Medici court14. Her works written from a perspective of gender studies are the most comprehensive. To complete her biography with a new view and unknown facts, Cusick analyzes the portrayal of Caccini from Christoforo Bronzini, who as she states was her first biographer.15 More attention has been paid as well to La liberazione providing stylistic analysis and historical context described. Different kinds of methodologies have been used in this field of research. Apart from the biographies, music analysis and gender music studies there have been published the works concerning on the correct interpretation of Caccini’s compositions in performance both sung and played. The reception of her opera has also been reflected. Her letters and librettos she used for the operas are available in English translation. The study of Francesca Caccini is complicated by the fact that very few of her works have survived and there is relatively small amount of information accessible about her. The records of her cease after she leaves the court of Medici, so that period of her life as well as her composition during that times remains unstudied and requires a proper research.

2.2 Francesca Caccini at the Medici Court

Born in Florence on September 18, 1587 in the family of Giulio Caccini — a tenor at the Medici court patronized by Cosimo I and a member of Camerata of Giovanni de’ Bardi known also as Florentine Camerata, Fran- cesca Caccini as well as her sister Settimia Caccini were very well

14 Ibid. 15 Ibid., p. 19

22 FRANCESCA CACCINI exposed to the world of professional theatrical performance. Their father gave them a proper musical and literary education. He planned a career for Francesca right from the start and taught her the art of composition, singing, and playing the lute, harpsichord and chitarrone. Even though the musician family of Caccinis were only servants, Francesca learned court manners, several languages and wrote poetry in Latin and Italian. Therefore, her training was based on the courtly habitus. After Concerto delle donne in Ferrara in trio with a famous singer Vit- toria Archilei, the sisters became known as "donne di Caccini” (women of Caccini) and were making an integral part of court chamber music, Fran- cesca Caccini grew up within this ensemble.16 Even though she worked for the Medici family till 1637, in this chapter I would like to have a closer look at the period of her services for the Medici up to the year 1627 for that it is the most relevant to the subject of this thesis, her opera La Liberazione (1625). In January 1628 she had left the service due to the death of her first husband Giovanni Battista Signorini and remarried with Tomaso Raffaelli, the Lucchese patron and amateur singer. This led to the fact that she entered the service of the banker-diplomat Vincentio Buonvisi in Lucca.17 As most of the researchers deem, she had been involved in the musical and theatrical production at the court already since 1600. That year coincides with the creation of Jacopo Peri’s Euridice and its first performance on October 6 at the wedding celebrations of Marie de' Medici to

16 Anke Charton, Artikel „Francesca Caccini“, in: MUGI. Musikvermittlung und Gender- forschung: Lexikon und multimediale Präsentationen, hg. von Beatrix Borchard und Nina Noeske, Hochschule für Musik und Theater Hamburg, 2003ff. Stand vom ... URL: http://mugi.hfmt-hamburg.de/artikel/Francesca_Caccini 17 Cusick, New Grove.

23 FRANCESCA CACCINI

Henry IV of France at the Pitti Palace. Since her father was supplying the opera with his music as well, there is a big chance that Francesca took part at least as a singer. How decisive was the word of the Medici in life of Francesca and her family can also be seen from the following events: during their visit in France around the year 1604, which was requested by Marie de' Medici, she impressed the king with her performance and was offered to stay at the French court, however she could not leave her service at the Grand Duchy of Tuscany and had to decline the participation in the premiere of Ariadna by Monteverdi in Mantua as well. 18 Officially she entered the service only in 1607 after getting married with a fellow court singer Giovanni Battista Signorini on the 11th of No- vember. Based on the information written in a copy of her marriage con- tract held in the Riccardi family archive, an Italian 18th century historian Giovanni Lami ran into conclusion that the marriage had been on the or- ders of the grand duchess Christine de Lorraine. Since then and until 1614 she performed in sacred music festivals during the Holy Week. Dur- ing that period, she was also writing music for court in cooperation with Michelangelo Buonarroti the Younger as a librettist.19 Beginning with a stipend of ten scudi per month, which was doubled later20 she had been one of the highest-paid women musicians already by the year 1627. As affirms Cusick in her monograph, the services she would provide included:

18 Carolyn Raney, “Francesca Caccini’s Primo Libro,” Music and Letters 48/4 (Oct. 1967), 350. 19 LOBATO, 2014, p. 5 20 CUSICK, 2009, p. 61

24 FRANCESCA CACCINI

“ …virtuosa solo singing, both improvised and sopra’l libro (by the book); sing with others in church, chamber, and theatrical settings; compose new music and coach its performance in all three settings; play lute, theorbo, harpsichord, guitar, harp, “and every sort of stringed in- strument” as performance circumstances required; evaluate the performance abilities of others; teach singing, instrumental performance, and composition to girls and young women whose study with her was subsidized by a court eager to transform Florence’s new way of making music into a tradition; and teach music to some of the ruling family’s children. […] Alone among the court’s women musicians, Francesca was as likely to be trusted with composing all or part of a court spectacle as was Marco da Gagliano or Jacopo Peri. Francesca’s ver- satility made her a highly useful servant. Her work among the women who quietly ruled Tuscany during the long regencies made her a powerful one, able both to capitalize on her familiarity with her patrons and to give eloquent, entertaining voice to their concerns.”21

Her father’s death occured in 1617 when Francesca was at the age of 30. That year she also published her Il primo libro delle musiche. At the court Francesca got several important acquaintances, such as already mentioned Michelangelo Buonarroti the Younger, in collaboration with whom she wrote La stiava (1607), La Tancia (1611), Il Passatempo (1614) and La Fiera (1619). La Tancia was strongly

21 Ibid.

25 FRANCESCA CACCINI criticized by Christina de Lorena for the obscene language used by Buo- narroti. The other famous figures with who she had collaborated or least- wise met were the librettists Ottavio Rinuccini, Jacopo Cicognini and Fer- dinando Saracinelli; composers Marco da Gagliano and Giovanni Battista da Gagliano. She was also admired by Claudio Monteverdi, Pietro della Valle and Gabriello Chiabrera.22

22 Alessandro Magini in the preface to the musical score of La liberazione, 1998.

26 OPERA LA LIBERAZIONE DI RUGGIERO DALL’ISOLA D’ALCINA

3 Opera La liberazione di Ruggiero dall’isola d’Alcina

3.1 Historical Context

In order to have a better understanding of the situation in which the opera of Francesca Caccini had been created, it is necessary to review the historical context. At the beginning of the 17th century, Florence was a capital of the Grand Duchy of Tuscany, a central Italian monarchy replac- ing the Republic of Florence from the year 1569. According to Suzanne Cusick the dates of Caccini‘s career lasted formally from when she married a fellow-singer, Giovanni Battista Signorini in 1607 to 1641. In fact, she had shown her performing skills to the court already in 1600 in the entertainments for the wedding of Maria de’ Medici and Henry IV of France. Therefore, the times of her career at the court coincides with the regency of Christine de Lorraine as the Grand Duchess of Tuscany and her husband Ferdinando I as the Grand Duke until 1609. From then their son Cosimo II was running the monarchy together with Mary Magdalene of Austria, but after his early death caused by tuberculosis in 1621 de facto Mary Magdalene and Christine Lorraine had become responsible for the court as joint regents whereas Ferdinando II (the son of Cosimo II and the direct heir to the throne) had not yet reached maturity. Exactly in that period which lasted from 1621 to 1629 appears Cac- cini’s opera La liberazione di Ruggiero dall’isola d’Alcina (1625). The composition was commissioned to Francesca Caccini by Mary Magdalene for the occasion of a visit of the Polish-Swedish prince Ladislaus VI Vasa. That historical event and the relation to it of the reviewed opera-balletto

27 OPERA LA LIBERAZIONE DI RUGGIERO DALL’ISOLA D’ALCINA was reconstructed and described in Cusick’s biggest work Francesca Cac- cini at the Medici Court: Music and the Circulation of Power.

3.2 Diffusion of Opera around 1625

The genesis of opera as a genre is not a one-time affair of a single moment and place in history. During the 20th century while dealing with the subject of the birth of opera, musicology related it to the Florentine inception of opera approximately starting from the year 1600. Nowa- days, we tend to think about it as of a processual formation in the North- ern part of Italy at certain courts (Florence, Mantua, Ferrara, Rome, Ve- nezia, Bologna). An important social situation for the birth of opera at the Northern-Italian courts had been wedding or betrothal. That circum- stance has been described and emphasized by Tim Carter.23 According to him opera appears as an emphasis of the wedding ritual. For that reason, the new ritual had been borrowed by the other courts and enriched with new local specifics after a Florentine wedding festivity entitled La Pelle- grina (1589). The impact of Florence on diffusion of the new ritual was determinative at least due to the culminating reign of the Medici as gran- duca whose power supremacy was established by the policy of betrothal internationally and in the context of Europe and by the link with the French court (Catherine de' Medici connected with the House of Valois in the late 16th century; Marie de' Medici connected with the House of Bour- bon by becoming the second wife of Henry IV the Great). The first operas were in fact of a product of Florentine initiative.

23 Carter, Tim. “A Florentine Wedding of 1608.” Acta Musicologica, vol. 55, no. 1, 1983, pp. 89–107. JSTOR, www.jstor.org/stable/932663. Accessed 10 May 2021.

28 OPERA LA LIBERAZIONE DI RUGGIERO DALL’ISOLA D’ALCINA

Apart from the Tuscan influence at the northern courts we should follow the line of Florence and Rome as well. The impact of Roman oratorio reached Florence foremost owing to a composer, organizer, and a noble- man Emilio de’ Cavalieri, who was also an author of a sacred opera Rap- presentazione di anima e di corpo (1600). An important differentiation of the early opera celebrations came about at the beginning of 17th century. Mythologic plots used in Floren- tine librettos (Dafne based on Ovid’s Metamorphoses, Euridice and Ari- anna) caused an important shift towards the operas of Monteverdi in Mantua (L’Orfeo, 1607; Arianna, 1608; Il ballo delle ingrate, 1608). The import of that kind of opera abroad began in the second decade of 17th century and was caused by the wedding celebrations of Italian princesses with Bourbon and Habsburg princes: Marie de’ Medici married Henry IV the Great; Eleonora Gonzaga married Ferdinand II. Early operas appear later at the court in Vienna and other Habsburg courts on the Lands of the Bohemian and Hungarian Crown mainly as court festivities – 1615 in Vienna, 1617 in Prague. The second decade of 17th century in Italy is marked by the relocation of opera activities to Rome. Some operas appear at the papal court during the pontificate of Matteo Barberini (Urban VIII), whose dynasty is famous as supporters of the arts. Those opera make a separate and inde- pendent Roman opera tradition. Its culmination falls on the creation of Stefano Landi San Alessio (1629). At the time when Francesca Caccini wrote her “Polish-Swedish” opera La liberazione di Ruggiero, a new type of opera in the form of a theatrical composition appears in Venice – Mon- teverdi’s Il combattimento di Tancredi e Clorinda (1624). The first sung opera in the German surrounding was on the protestant basis

29 OPERA LA LIBERAZIONE DI RUGGIERO DALL’ISOLA D’ALCINA represented by Dafne (1627) of Heinrich Schütz with libretto written by Martin Opitz. The presence of political aspects and intrigues in early operas or musical celebrations with opera features at that time was a common thing. As an example and a proof of that, I attach a document discovered by a musicologist and lutenist Miloslav Študent and presented in his article about a musical celebration Phasma Dionysiacum that took place in Pra- gue on the 5th of February 1617 at the conference organized simultane- ously with a sort of remake of that composition in Prague in 2017 for the occasion of the 400th anniversary at the Prague Castle. The document is entitled La musica del Regno di Bohemia and according to its content, it seems to be someone’s commentary to the event. Transcription of the fac-simile: Cantori L’archiduca Ferdinando L’archiduca Maximiliano L’imperatore Mattheo Il Legato Pontifico L’interlocutori Il grand Duca Toscano Il Legato Veneto Il Legato d’Espagnese L’archiduca Ferdinando canta L’alto/ Re mi fa. L’archiduca Maximiliano canta Il Basso/ Mi fa sol. L’imperatore Can(ta) il tenore/ Re mi sol. Gli interlocutori Il grand Duca parla, questi cantori non sono d’accordo. Il legato Veneta/ questa musica mi piace.

30 OPERA LA LIBERAZIONE DI RUGGIERO DALL’ISOLA D’ALCINA

Il legato d’Espagna/ questo madrigale non si Cantava bene. L’Espagna non tiene la battuta giusta. I principi vinti respondono perchè musica d’Espagna non vale in Bohemia in Alamania Il Legato di Bohemia dice/ pian pian signori, che sensa me non si fara nulla

It is clearly demonstrated in this document how a new form of theatrical presentation is bound with a famous political discourse. Particular expo- nents strive for the Czech realm and the power over it (Re mi fa/ Mi fa sol/ Re mi sol) up to the ending phrase of a Czech deputy (Il Legato di Bohemia —? Vilém Slavata or some other Czech politician?), who alerts the others that the final decision belongs to the Czechs (… senza me non si fara’ nulla…).

3.3 Performance and Staging Circumstances

3.3.1 Florence (1625)

The genre of opera-balletto was particularly diffused among the Eu- ropean courts at the beginning of the 17th century. They made a big and important part at the court celebrations in one line with opera-torneo, carosello and balletto cantato. Iconic examples of the other works of this genre make Ballet de la Reyne (1581) in Paris, Monteverdi’s Ballo delle ingrate (1608) staged in Mantova and a ballet by an unknown composer Phasma dionysiacum Pragense (1617) in Prague with libretto from Vin- cenzo d’Arco. In the case of La liberazione, above all it was meant as an equestrian ballet (ballo al cavallo) and implied a performance on horses.

31 OPERA LA LIBERAZIONE DI RUGGIERO DALL’ISOLA D’ALCINA

The secondary roles are conditionally separated into 8 women and men that dance on foot (Le Dame del Balletto/I Cavalieri, che ballorno con le Dame) and a group of those that were riding horses. Among the performers there are many important figures with family names such as Strozzi, Concini, Medici, Rinuccini etc.

Figure 1. The list of performers of the dancing roles from the fac-simile edition of La liberazione di Ruggiero dall’isola d’Alcina. As seen from the document above, the scene and machinery were designed by Giulio Parigi (1571–1635).24 The choreography, both on foot and on horses was by Agnolo Ricci, who had previously collaborated on Francesca’s balletto Ballo delle zingare (1614). The opera had been accepted with success by the court and by the in- vited Ladislaus IV, who had also obviously ordered a copy of La

24 Giulio Parigi was a Florentine architect, who was commissioned to work on important buildings for the Florentine court, among which was also rearrangement of the villa of Poggio Imperiale where the premiere of La liberazione took place.

32 OPERA LA LIBERAZIONE DI RUGGIERO DALL’ISOLA D’ALCINA liberazione and Rappresentazione di Santa Orsola, Vergine e Martire by Marco da Gagliano. This information is evident from the fact that these compositions were staged three years later in Warsaw.25 Suzanne Cusick in her entry in Grove gives us some information about how the given balletto was perceived:

”…the opera was praised by contemporary listeners for the beauty of its siren’s song, its chorus of enchanted plants and its ensemble writing for women’s voices and recorder trio. Caccini’s approach to serious passages resembles that of Jacopo Peri in that she constructs dramatic speeches as an unfolding variation on an opening musico-rhetorical gesture.” 26

3.3.2 Warsaw (1628)

Not much information is known about the realization of La liberazione at the court in Warsaw, but according to Jerzy Golos, the interest of Ladislaus IV to Italian secular opera had appeared already before he would become a king. In that period, he had been arranging vocal performances and was strongly impressed by dedicated to his honor La liberazione. By his order, the opera was exported to Poland and reprinted in

25 GOŁOS, Jerzy. Italian Baroque Opera in Seventeenth-century Poland, in: The Polish Review, Spring, 1963, Vol. 8, No. 2, pp. 67-75, University of Illinois Press on behalf of the Polish Institute of Arts & Sciences of America 26 Available at: https://www.oxfordmusiconline.com/grovemu- sic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e- 5000004719

33 OPERA LA LIBERAZIONE DI RUGGIERO DALL’ISOLA D’ALCINA

1628 in Cracow with a translation into Polish by Serafin Jagodynski (Wybawienie Ruggiera). 27 Seems that the choice of the poet was also predefined, since Jago- dynski had had a direct relation to Italy and studied in Padova and Bolo- gna. He had also been that day in Florence with the prince at the premiere of La liberazione.28 It is unknown where exactly the premiere of that composition took place in Warsaw, as the permanent opera theatre was stabilized there only in 1637 in the Royal Castle. We do not know either the names of performers (though it is very likely that most of them were Italians), nor the details of how it was staged and perceived by the contemporary audience. More research on this subject remains needed.

27 GOŁOS, 1963, p. 69. 28 Dawni pisarze polscy od początków piśmiennictwa do Młodej Polski, przewodnik biograficzny i bibliograficzny, tom drugi I-Me. Warszawa, 2001, ISBN 83-02- 08101-9, p. 15-16.

34 ANALYSIS

4 Analysis The following analysis is formed by two main sections: in the first one I focus on the libretto and its literary roots; the second section is con- centrated on music and it consists of the present analytical remarks for this opera and the proper analysis of certain pieces that are the most pe- culiar and clearly reflect Caccini’s musical thought and style. Therefore, for the analysis I selected the opening sinfonia and certain ritornels; the whole prologue with a more detailed insight to the character of Nettuno; 2 appearances of each of the main characters, such as Melissa, Ruggiero and Alcina. One of the aims of my analytical remarks is to adjust and specify the stances from the booklets published by the ensembles engaged in performing La liberazione. In my commentary I will touch in particular on an interpretation from a Belgian conductor and musicologist Paul Van Nevel in the article On the musical realization of La liberazione di Ruggi- ero released for the booklet for Deutsche Harmonia Mundi. Apart from the balletto Huelgas Ensemble added to the recording a gagliarda from Salomon Rossi (1570–c. 1630), a Jewish attendant at the Gonzaga Court in Mantua to which he had never been accepted. Adding other music pieces to an original balletto is nothing unusual. Barbara Nestola pointed out that in various operas on the turn of 30th and 40th of the 17th century a passacaglia Pur ti miro by Benedetto Ferrari had been used29 and at that time it was a usual method.

29 °…From 1637 to 1641 Ferrari was active as a librettist and composer, mainly in Ve- nice. His Andromeda, set to music by Manelli and staged in 1637, was the earliest Venetian opera given before a paying public (performances had previously been reserved for an aristocratic elite). Ferrari then provided both the text and the

35 ANALYSIS

Sleeve note draws attention to the persistent meaning of a bass line, which, according to the interprets, still played a significant part in the interpretation of a piece at the time when La liberazione di Ruggiero was written:

“…As the present music example demonstrates the bass line beneath the vocal part is accompanied only by the requisite figures that indicate the sort of chordal writing that needs to be improvised here… Although this realisation presupposed the existence of certain fixed rules, it also allowed the performers considerable freedom…”

This way the implementors of record underline the importance of the bass changes for their realisation. Paul Van Nevel reflects on this likewise in the sleeve note to the edition implemented by Huelgas Ensemble:

„…Francesca Caccini uses this dramatically charged vocal style of all three of her principal roles: Alcina, Melissa and Ruggiero. The other roles and the choral contributions are still indebted to the sort of Renais- sance style that may employ diminuition and ornamen- tation but which is not really parlando in character. Moreover, these roles are mostly written in a canzonetta style with stanzas and refrains…“.

music for two operas, both presented in Venice: La maga fulminata (1638) and Il Pastor regio (1640). The latter was revived in Bologna 1641. The Bolognese version included as its final duet, the text „Pur ti miro, pur ti godo“, which was later reused (possibly with Ferraris music) for the final duet in the surviving ma- nuscripts of Monteverdis L´Incoronazione di Poppea…° from the booklet to CD Benedetto Ferrari – Musiche Varie a voce sola, Ensemble Ar- taserse, Philippe Maillard Production, 2003, Ambroisie. The author of the sleeve notes – Barbara Nestola.

36 ANALYSIS

However, it can be difficultly accepted. First of all, using the term „…the sort of Renaissance style… “for the time period when Mannerism of the last two decades developed into early Baroque, is quite questionable. It stands in contrast with the viewpoint of Paul Van Nevel about canzonetta style, which was typical for the early Venetian opera and can be traced in Monteverdi’s works already in the second decade of the 17th century since his relocation to Venice. Our analysis convicts us that something similar may be found in the works of Francesca Caccini but in ritornels, triplets and episodic roles (Damigelle, Sirena). Since the other operas by Francesca Caccini are lost, we can only speculate about to what extent she reacted to the development of different opera types in the first and second decades of the 17th century — that means above all to the operas of the composers that continued Floren- tine opera tradition from around 1600, so Claudio Monteverdi, Marco da Gagliano, and others. Therefore, we do not know whether La liberazione was a manifestation of a synthesis, which was preceded by some reac- tions to the Monteverdi’s seconda prattica in the first and second decades. She does not seem to be a protagonist of this movement, otherwise some mentions so oriented about her would have occurred in, so far, the most complete monograph dealing with this topic from Massimo Ossi entitled Divining the Oracle: Monteverdi’s Seconda Pratica. Francesca Cac- cini does not play a part of this work. This analysis contains an attempt to follow the features of the contemporary movements that could have influenced the musical style of Caccini, such as seconda prattica and stile rappresentativo. The last mentioned one is documented and described in a letter from 1634 addressed to Giovanni Battista Doni (1594–1647) by Pietro de’ Bardi, who was a

37 ANALYSIS son of the famous patron of Camerata Fiorentina—Giovanni de’ Bardi (1534–1612):

“ To my very illustrious and revered patron, the Most Honored Signor Giovan Battista Doni: My father, Signor Giovanni, who took great delight in music and was in his day a composer of some reputa- tion, always had about him the most celebrated men of the city, learned in this profession, and inviting them to his house, he formed a sort of delightful and continual academy from which vice and in particular every kind of gaming were absent. To this the noble youth of Flor- ence were attracted with great profit to themselves, passing their time not only in pursuit of music, but also in discussing and receiving instruction in poetry, astrol- ogy, and other sciences which by turns lent value to this pleasant converse. Vincenzo Galilei, the father of the present famous astronomer, a man of a certain repute in those days, was so taken with this distinguished assembly that, adding to practical music, in which he was highly re- garded, the study of musical theory, he endeavored, with the help of these virtuosi and of his own frequent vigils, to extract the essence of the Greek, the Latin, and the more modern writers, and by this means became a thorough master of the theory of every sort of music. […] The first poem to be sung on the stage in stile rappresentativo was the story of Dafne, by Signor Ottavio Rinuccini, set to music by Peri in few numbers and short scenes and recited and sung privately in a small room. I was left speechless with amazement. It was sung to the accompaniment of a consort of instruments, an arrangement followed thereafter in the other comedies. Caccini and Peri were under great obligation to Signor Ottavio, but under still greater to Signor Jacopo Corsi, who, becoming ardent and discontent with all but the superlative in this art, directed these composers with

38 ANALYSIS

excellent ideas and marvelous doctrines, as befitted so noble an enterprise. These directions were carried out by Peri and Caccini in all their compositions of this sort and were combined by them in various manners. After the Dafne, many stories were represented by Signor Ot- tavio himself, who, as good poet and good musician in one, was received with great applause, as was the affa- ble Corsi, who supported the enterprise with a lavish hand. The most famous of these stories were the Euridice and the Arianna; besides these, many shorter ones were set to music by Caccini and Peri. Nor was there any want of men to imitate them, and in Florence, the first home of this sort of music, and in other cities of Italy, especially in Rome, these gave and are still giving a marvelous account of themselves on the dramatic stage. Among the foremost of these it seems fitting to place Monteverdi. […] I believe that as I serve Your Lordship with heartfelt affection, so Your Lordship will confirm the truth of my small selection from the many things that might be said about this style of musica rappresentativa which is in such esteem. But I hope that I shaJl in some way be excused through the kindness of Your Most Excellent Lordship, and predicting for Your Lordship a most happy Christ- mas, I pray that God Himself, the father of all blessings, may grant Your Lordship perfect felicity.

Florence, December 14, 1634. Your Very Illustrious and Reverend Lordship's Most humble servant, Pietro Bardi, Conte di Vernia. “30

In this letter Pietro de’ Bardi is recalling on the inception of opera in Flor- ence around 1600.

30 STRUNK, W. O., & TREITLER, L. Source readings in music history. New York, Norton, 1998, pp. 363-366.

39 ANALYSIS

The opera consists of a sinfonia, prologue and four scenes that form so- called balletto part. Although the composition is not clearly divided into the scenes originally, the division is just nominal and differs from one interpretation to another. This way the structure of this opera may be considered to contain three scenes instead of four. The roles of characters performing in prologue and balletto are the following: Prologo: • Nettunno (tenor) • Vistola fiume (tenor) • Coro di numi dell’acque Balletto: • Ruggiero (tenor) • Alcina (mezzo-soprano) • Melissa (mezzo-soprano) • Nunzia (mezzo-soprano) • Pastore (tenor) • Sirena (soprano) • Astolfo (tenor) • Coro di damigelle di Alcina, coro di piante incantate, coro di mostri infernali, coro di cavalieri liberati

4.1 Libretto

This opera was already a second collaboration of Francesca Caccini with the librettist Ferdinando Saracinelli. In 1615 they worked together on Ballo delle zingare. The libretto of La liberazione is based on an epic poem from the year 1532 containing the features of a chivalric romance by Ludovico Ariosto

40 ANALYSIS entitled Orlando Furioso. The piece is in fact a continuation of a previously written but unfinished romance Orlando Innamorato (Orlando in Love) by Matteo Maria Boiardo that re-elaborates medieval French cycle named The Matter of France, known thanks to chansons de geste — the lyric poetry from the repertoire of troubadours and trouvères originally in the language of oïl. The most famous chanson from the cycle is The Song of Roland which tells us about Charlemagne and his paladins.31 In Italy, in the Renaissance period, the Matter of France was taken up by Luigi Pulci in his epic poem Il Morgante. In 1614 Michelangelo Buonarroti the Younger had already worked on a libretto inspired by the poem of Ariosto in collaboration with Jacopo Peri for the opera Giostra de Mandricardo e Medoro. After Caccini’s work, quite a few composers and librettists have used the plot with Alcina in their operas. The extravagancy of the subject attracted predominantly the artists throughout the 18th century. Other operas inspired by this plot were: o Il palazzo incantato (1642), libretto by Giulio Rospigliosi (future Pope Clement IX); o Alcina delusa da Ruggero (1725) music by Tomaso Albinoni, libretto by Antonio Marchi; o Orlando furioso (1727) music by Antonio Vivaldi, libretto by Grazio Braccioli, premiered in Teatro Sant'Angelo in Venice; o Alcina (1735) music by Georg Friedrich Händel, libretto by Anto- nio Fanzaglia; o Ruggiero (1769) music by Pietro Alessandro Guglielmi, libretto by Caterino Mazzolà;

31 NARDELLI, Matteo. La Chanson de Roland, 1958, p. 12.

41 ANALYSIS

o Il Ruggiero (1771) music by Johann Adolf Hasse, libretto by Pietro Metastasio; o L'isola di Alcina (1772) music by Giuseppe Gazzaniga, libretto by Giovanni Bertati. According to Alessandro Magini, the libretto was initially supposed to be written by Andrea Salvadori, the principal court poet to the Medici family who worked with Marco da Gagliano and Jacopo Peri, but his re- lationship with Francesca was not so congenial. Therefore, Ferdinando Saracinelli had been chosen for this scope as an experienced poet in this genre. Magini also mentions one curiosity about the final scene: Caccini had elaborated her own ending of the opera, different from the one of Saracinelli. There she substituted the last appearing of Melissa with a choir madrigal Al diletto, al gioire (To delight, to rejoice). The reason for that was the intention to enhance the festive effect of the ballo al cavallo. Cantos VI, VII and VII form the basis of the plot of this opera. Below I inserted the synopsis translated into English by Suzanne Cusick for the booklet to a CD recording directed by Elena Sartori.32

Synopsis of the plot Prologue The god of the sea, Neptune, invites other marine deities to sing, with the purpose of win- ning the goodwill of the recently arrived prince of Poland. The spirit of the River Vistula and a chorus of other Deities of the Water then call upon Apollo to assist them in the en- treaty and the festivities. Neptune himself then begins the tale.

Scene I

32 CACCINI, Francesca (2017), La liberazione di Ruggiero dall´isola d´Alcina, Elena Sar- tori (dir.), CD, Salone d'Onore di Casa Romei, Ferrara.

42 ANALYSIS

The sorceress Melissa, riding on the back of a dolphin, reaches the island of Alcina. Merlin has revealed to Melissa that Ruggiero and his fiancée Bradamante are destined to become the founders of the Este dynasty. For that reason, Melissa has taken the decision to make an intervention in order that the courageous warrior once again takes up his arms and – after having broken the spell binding him to the sorceress Alcina – resume the course of his destiny. So as to avoid arousing suspicions, Melissa appears to Ruggiero disguised as the old African magician Atlante.

Scene II Alcina has placed a spell on Ruggiero through feigning a seductive and irresistible de- meanour and, by her witchery, is confining him on the island where she has transformed all her previous lovers into plants once she has grown tired of them. Adescendent of the Trojan Hector, Ruggiero’s destiny is to create the House of Este. This Saracen warrior loves and is loved by Bradamante, a Christian warrior from Charlemagne’s army. However, un- mindful of the pledge of betrothal binding him to Bradamante, he has sworn an oath of love and undying devotion to Alcina. Damsels encircle the two lovers glorifying the joys of their passion, whilst a shepherd re- counts their loves. Alcina moves off in order to take care of the concerns of her kingdom, thereby allowing Melissa the opportunity to speak to Ruggiero: she reminds him of his virtuousness, his courage and his uprightness and urges him to abandon his amorous pas- times so as to follow his distinguished destiny. The Chorus of the Enchanted Plants be- seeches the warrior not to leave, thereby consigning them to be prey to Alcina’s fury, but Ruggiero has now been convinced and has awakened from the spell, motivated by the wise words of Melissa. Alcina returns and Nunzia, who had been a witness to the conversation between Melissa and Ruggiero, tells her everything. Alcina’s rage and pain are uncontrol- lable: she curses Melissa who, in her turn, insults her and hurls frenzied imprecations in her direction. Ruggiero makes his departure: then it is freedom for Astolfo, son of the king of England, and all the other plants and ladies bewitched over many years, at last freed from the sorcery.

Scene III The sea bursts into flames and Alcina boards a monstrous vessel constructed from whale- bone; accompanied by the Chorus of Monsters, she vows to take her revenge. Terrified,

43 ANALYSIS

Astolfo, the cousin of Orlando and Bradamante, asks Melissa how they are going to be able to escape. Melissa reassures him: her power is much greater than that of Alcina, and they will be able to make their flight when they want to.

Scene IV Alcina disappears, dragged along by winged monsters which surround her ship, and the entire set is transformed into a rocky landscape. Melissa shows the harmful consequences of men’s behaviour when they are unable to control their passions. Of course, the beauties and the allure of the landscape have now disappeared, and the island is displayed as it really is: a wasteland, barren and stony. Dances of the Ladies – henceforth released from their bewitchment – ensue; with the Plants on the island, they share the fate of having freed their beloved ones who had been turned into stone by the evil spell. Melissa directs the concluding celebrations, inviting La- dies and Knights all to dance together. When the wise sorceress appears onstage, in a chariot drawn by centaurs, the final madrigal is sung by all present, celebrating the beauty of Tuscan women and the merit of virtuousness.

4.2 Music

For an analysis of the balletto I selected certain pieces from the opera that in my opinion represent the characters of the main roles in the clearest way, but also, I will analyze the prologue, sinfonia, and certain choir pieces. I draw the inspiration for the analysis in the approach of the musicologists occupied by analysis of madrigals, instrumental music, operas and ballets, and dramatic compositions. Among them there is for example Denis Arnold (Monteverdi, London 1963), Alfred Einstein (The Italian Madrigal, Princeton 1949), Karl Gustav Fellerer (Claudio Monteverdi e la musica del suo tempo. In: Rivista Italiana di Musicologia, R II: 1967, p. 270), Hans Ferdinand Redlich (Claudio Monteverdi. Ein formgeschichtlicher Versuch, Berlin 1932). Some of the inducements

44 ANALYSIS from the mentioned older literature have been updated with the newer analytical findings from the monograph of the authorship of Ewa Ob- niska (Claudio Monteverdi. Claudio Monteverdi: życie i twórczość, “Stella Maris”, Gdansk 1993). Conversion of certain passages of exposed characters of the opera into the interval sequences is supposed to simplify the comparison of the melodics and define it in more detail.

Sinfonia The opening of the opera is signed as sinfonia. This definition often collides with ritornello. Beginning already with the year 1610 – as ascer- tained by comparing the first “operas” (termed differently, typically for the manneristic imagination, and always in a way to enhance the individ- uality of the author – for example favola, ballet, ludum comicum, comme- dia etc.) – sinfonia usually has a longer duration and later turns into over- ture, while ritornello is shorter. Six years earlier before Caccini’s balletto, Stefano Landi wrote another dramatic composition of this type but in the Roman opera tradition.

45 ANALYSIS

It is obvious from the formal construction that according to the number of bars, sinfonia is composed symmetrically with a tendency to be divided into two halves (21 and 19 bars). In fact, after the shift to the triple measure (from the bar 22), it is important to acknowledge that according to the contemporary performance practice the duration of one bar in triple measure is equal to the preceding duple (4/4 – C) measure bar. From this we can imagine the following proportion: that is Therefore, the metrical construction of this piece can be seen in a ratio of 3:2. In fact, from our contemporary point of view, the whole sinfonia is designed within the golden ratio and the Fibonacci sequence33 (0+1=1; 1+1=2; 1+2=3; 2+3=5; 3+5=8; 5+8=13; 8+13=21…). It is evident from the score that the composer’s musical thinking is still more horizontal than vertical. As an example, the situation in the 4th bar on the third and fourth beats confirms it. The 40 bars of sinfonia are situated to G-dur. There is a mixolydian tendency – the oscillation of f and fis which can be explained by the awareness of minor dominant, in this case d – f – a withing G-dur. The use of a minor dominant, especially at the beginning of the segment, and its replacement with the major dominant in the ending of the segment is typical for the first operas around 1600, as an example, in Euridice by Giulio Caccini. From G-dur, which is the tonal center, sinfonia contains transition to the key of the dominant D-dur and its dominant A-dur.

33 More about the golden ration and Fibonacci sequence in the book by Scott Olsen: The Golden Section: Nature’s Greatest Secret. New York: Wooden Books (Walker and Company), 2006

46 ANALYSIS

Apart from that, not as often, but there is also transition to the mixolydian key of F-dur.

The transcription of sinfonia in a more illustrative look:

Figure 2. Sinfonia.

In the table below I outlined the harmonical course of the sinfonia:

47 ANALYSIS

Bar 2 Bar 1 Bar 3 Bar 4 Bar 5 C/s/- 4/4 (C) Modulating Transition mixolydian G/T/ G/T/C/s moment to (D) K f

Bar 6 Bar 7 Bar 8 Bar 9 Bar 10 Return to C-

dur through D C/T6 53/ G/D C E/(D) Bar 11 Bar 12 Bar 13 Bar 14 Bar 15

E A(D) D G/D/ T(6) C → 6 Bar 16 Bar 17 Bar 18 Bar 19 Bar 20

F C(6) G/D/ C A(D) → G D Bar 22 Bar 21 (triple Bar 23 Bar 24 Bar 25 metrum G change) ami F G C G -- 64 Bar 30 Bar 26 Bar 27 Bar 28 Bar 29 D 6 mi 4 c -- g F - a d E A 3 Bar 31 Bar 32 Bar 33 Bar 34 Bar 35 G T-6 C D G C F6 G F T-6 Bar 36 Bar 37 Bar 38 Bar 39 Bar 40

G 4/4 (C) C ami G6 -- 53 D G Table 1. The harmonic progression of sinfonia

Nettunno Prologo In the third decade of the 17th century a prologue to an opera-balletto made an important part of the dramatical composition, for that I analyze

48 ANALYSIS the whole prologue in this thesis. First of all, it is handy to remark that up to the first wave of Venetian opera at the turn of the 30s and 40s of 17th century, prologues in dramatical compositions were strongly inspired by morality and poetics of the Jesuit dramatic products. There often appeared deities and allegorical figures representing certain moral attitudes and principles (Monteverdi: Fortuna, Virtu, Amor, Fragilta umana, Tempo; Landi: Fato; Cavalieri: Anima, Corpo, Intelletto, Consig- lio; Carissimi: Historicus). The whole prologue is dedicated “...al serenissimo Ladislao Sigis- mondo, Principe di Polonia e di Svezia...”, which explains the occurrence of the Polish, Russian and steppe Tatar actualities in relation with the homage to the coming Polish-Sweden prince. For instance: “…chi vinse in guerra il Moscovita e’l Trace, E servi rese i Tartari feroci...”. The prologue consists of six appearings of Nettunno/Neptune, one appearing of the Vistola Fiume/Vistula River (which obviously makes an homage to the prince Vladislav IV Vasa), a choir of Numi dell’acque/Spir- its of the Waters, a duet immediately followed by a trio, and separate ri- tornellos. A repetition of the choir of Spirits of the Waters makes the end of prologue.

Figure 3. Prologue, the first appearing of Nettunno “Non perchè congiurati...”.

49 ANALYSIS

Nettunno’s part is written in the recitative manner – with the prevalence of such intervals as unisons, seconds and sometimes thirds, fourth, also one tritone is present. Monteverdi’s approach to the deities (Nettuno in Il ritorno d’Ulisse in patria from 1641 or even Plutone in L’Orfeo from 1607) is based predominantly on the triad chords and their inversions by the means of intonations, which creates resemblance with the instrumental brass music and adds to the divine characters a different melodic form and enhances the imminence.

Figure 4. Prologue, the second appearing of Nettuno “Ma per mirare…”.

The second appearing of Nettuno is again of a recitative pattern with the prevalence of unisons and seconds. Thirds and fourths are used in the way that the fourths are 5 times ascending (4 times d1 – a, 1 e1 – h), while the thirds are used 4 times (2 ascending h – d1, 1 descending g – e, 1 ascending g – h). Altogether it can be proclaimed that the second appearing of Nettuno is a compromise between the recitative melodics of unisons and seconds and the melodics of 4 thirds and 5 fourths.

50 ANALYSIS

Figure 5. Prologue, the third appearing of Nettuno “Meco venite…”.

Generally speaking, each appearing of Nettuno is based on the same musical material with a glorifying character, slightly varying according to the sense of lyrics, for instance a distinct dotted rhythm helps to em- body a military mood and sense of the lyrics: “Meco venite, e con sonore voci/ Numi dell’acque reverite in pace, / Chi vinse in Guerra il Moscovita, e’l Trace,/ E servi rese i Tartari feroci.” (Come with me, and with sonorous voices, Spirits of the Waters, honour in peace him who defeated in war the Moscovite and the Thracian and beat the fierce Tartars.)34

34 English translation by Mark Wiggins, available at: https://www.chandos.net/chanimages/Booklets/GS3902.pdf

51 ANALYSIS

Figure 6. Ritornello from the prologue. Fac-simile edition, 1998.

Figure 7. Ritornello from the prologue, transcription.

The ritornello in 4 bars separates the second appearing of Nettunno from the third one. Also, the mixolydian material (f in G-dur) is con- fronted with the ionic (dur) with overall dur outcome in the third and fourth bars. Composer exposes the four-voice texture with predomi- nance of a horizontal thinking, which results into the chords that are a product of the horizontal arrangement of the voices and not at all the vertical.

52 ANALYSIS

Figure 8. Prologue, choir of Numi dell’acque.

Figure 9. Claudio Monteverdi: opera L’Orfeo, scene I, choir “Vieni, Imeneo, deh vieni...”

Choir of Numi dell’acque (Spirits of the Waters) for six voices does not deviate with from the other choirs of this type and the prototype for it probably was an analogously composed choir by Monteverdi “Vieni, Imeneo, deh vieni…”. For the mentioned choir from the first scene of L’Orfeo Monteverdi used syllabic chordal texture. Apart from the texture and tonality, the compared choirs are identical in terms of harmonics as well. After Monteverdi, the use of two different chois textures became quite common, such as homophonic (syllable/chord) like in this

53 ANALYSIS particular case or polymelodically composed technique of madrigal or villanella, like for example a ritornel Lasciate monti, once more from Monteverdi’s L’Orfeo. Returning to Numi dell’acque: formally, it is a short 8-bar ritornel. Even though the lyrics are still of a glorifying character praising Apollo as a God of Sun and the arts, this brief piece of the prologue is an embodiment of a gentler and subtler nature. And in order to convey this, Caccini used more of chromatic steps within d-moll, which in relation to the previously used G-dur makes a minor dominant key. The dotted rhythm is still present, but it is not as distinct thanks to the choice of longer note values.

Figure 10. Prologue, the fifth and sixth appearing of Nettunno.

The last appearings of Nettunno in the prologue do not significantly differ from the previous ones. They are separated by the ritornel the same way and make a logical summary of the preceding verses. The glorious character is emphasized by using a tirata on “… Regio core.”, after which follows a repetition of coro di Numi dell’acque that closes the prologue.

54 ANALYSIS

The first scene opens Melissa:

Figure 11. Scene I, Melissa: „Cosi perfida Alcina…“ The truculent and accusing text of Melissa towards Alcina is set to music by the means of the following intervals:

55 ANALYSIS

0: 43x -3: 8x 7: 1x 1: 7x 4: 2x -1: 3x -4: 4x 2: 20x 5: 1x -2: 9x -5: 2x 3: 4x ±6: –

As it is seen from above, the unisons prevail, which emphasizes the significance of text comprehension. Further intervals in terms of fre- quency of occurrence are ascending major second (20x), descending mi- nor third (8x) and ascending minor second (7x). In terms of harmonics, there is a curiosity in form of a double deflection (2 C to Hes; 2 C to A). The insistence of text is underlined by the rythmical groups: ♪ ♪ ♪ ♪ ; ♩.♪; ; .

Figure 12. Scene I, ritornello.

The second 5-bar ritornello is in G-gur and, in contrast to the first one, in triple meter.

56 ANALYSIS

Figure 13. Scene I, Due Damigelle: “Gentil Ruggiero D’amor...” Damigelle in balletto cantato certainly represent a villanella line. The most important roles in the opera perform in stile recitativo as it was established after 1600. Since the further theatrical music pieces from Caccini are lost, it is only possible to speculate that she did not abandon the primary opera line which for instance was prioritized by her father Giulio Caccini, but that she merely lightened it with the dancing instrumental ritornels and short vocal of villanella type, mostly in a quicker tempo beaten in triple metrum. Damigelle belong to that type. While in Roman and Venetian opera the triple-timed style of canzonetta had influenced the speech of the serious characters of an opera, Francesca Cac- cini’s opera protagonists seem to not be interfered by that tendency and so we can observe it only in the ritornels.

57 ANALYSIS

Figure 14. Scene I, Ruggiero: “Quanto per dolce…” 0: 41x 3: 5x -5: 3x 1: 9x -3: 5x -6: 1x -1: 5x 4: 2x -7: 1x 2: 8x -4: 3x -2: 10x 5: 3x The scene is based on the meeting of Ruggiero with Alcina, who enchants him to fall in love with her. The music contains some chromatic devia- tions that emphasizes the romantic intentions of the characters, but still the melody always returns to its center (A). It is evident from the list of the used intervals that the unisons prevail (41x). Caccini seems to be

58 ANALYSIS avoiding wide intervals in order to not deviate from stile recitativo. The fourth are predominantly ascending, only one is descending.

Figure 15. Scene I, Alcina: “Ah, non ti prender gioco...”. 0: 29x 3: 4x 1: 6x -3: 1x -1: 5x 4: 2x 2: 9x -4: 2x -2: 10x 5: 1x -5: 4x It is the first time Alcina gets to sing, and it is a response to Ruggiero. The recitative melodics prevails also in this example, it covers seconds

59 ANALYSIS

(major and minor) and unisons. The fourth are predominantly ascending, only one is descending. This passage is written in the style of recitar cantando and does not generally correspond with the explicit and emo- tional manner in which the libretto is written.

Figure 16. Scene II, Alcina: “Così condisci ingrato…”. 0: 44x 3: 6x 1: 5x 4: 1x -1: 8x -4: 4x 2: 12x 5: 7x -2: 11x -5: 1x

60 ANALYSIS

Once more, the recitative melodics prevail, completed with the seconds – the recitative does not differ much from the musical material used for expressing the so-called “positive” roles. Recitar cantando was evi- dently a lifelong matter for Francesca Caccini.

Francesca Caccini and seconda prattica

Figure 17. Claudio Monteverdi: L’Orfeo. Second appearing of Euridice “Ahi vista troppo dolce…”

61 ANALYSIS

Figure 18. Claudio Monteverdi: L’Orfeo. Second appearing of Euridice “Ahi vista troppo dolce…”, transcription.

In order to compare Caccini’s music with the representatives of seconda prattica, we should analyze in the same manner a piece from Monte- verdi’s opera L’Orfeo, which is considered to be a typical manifestation of this tendency in the modern musicological literature. The occurrence of the intervals in the second appearing of Euridice (appears in the opera just twice): 0: 29x 4: – 1: 6x -4: – -1: 3x 5: 2x 2: 3x -5: 1x -2: 6x 6: – 3: 4x -6: 2x -3: 3x

62 ANALYSIS

The prevalence of unisons indicates the intention to emphasize the lyrics. The harmonic of this example is the main factor that puts it on one side with seconda prattica — a collision of two completely distant keys g-moll x E-dur without modulation. The harmonic progression of the example: 1 bar 2-3 bar 4-5 bar 6 bar 7 bar 8 bar g-mol g-moll E-dur d-moll – D-dur g-moll F-dur – A-dur – d-moll – a-moll g-moll F-dur D-dur g-moll Before we have already compared the two choirs: choir of Numi dell’acque (La liberazione) and choir “Vieni, Imeneo, deh vieni...” (L’Orfeo). Another comparison will be between a lamenting performance of Una delle piante incantate from La liberazione and Una delle ingrate from Ballo delle ingrate of Monteverdi.

63 ANALYSIS

Figure 19. Scene I, Una delle piante incantate: „Lasso, qual vista atroce…“. The lyrics express despair and fear, the following intervals have been used for this scope: 0: 22x -3: 3x 1: 4x 4: 1x -1: 4x -4: 1x 2: 1x 5: 3x -2: 4x -5: 2x 3: 3x

64 ANALYSIS

The repetition of the unisons again prevails, giving emphasis to the text. The widest used intervals are ascending fourth (3x) and descending fourth (2x). The prevailing key is g-moll.

Figure 20. Claudio Monteverdi: choir ritornel “Apprendete pietà” from Ballo delle ingrate. Overwritten from the edition of Luigi Torchi. L’arte musicale in Italia/ G. Ri- cordi a C., Milano, p. 237

The reasons for choosing the ending of balletto cantato Ballo delle In- grate in genere rappresentativo by Claudio Monteverdi are the following: a) the dissonance that ends the choir ritornel is one of the most distinct proofs of the so-called seconda prattica. In contrast to the harmonic conflict g-moll x G-dur, Monteverdi applies an accurate

65 ANALYSIS

symmetry (6 chords to 6 chords) with an added coda, in which the described dissonance hes x h is exposed. The symmetry appears as the main principle in opera development for the period beginning from the genesis of Roman opera till the genesis of Venetian. Composers that went along with the principle reached a progres- sive stream in the history of opera that led to the subsequent evo- lution of opera. b) The separation of one of the 8 women that remain in Tartar as “ingrate” for the cause of not wanting to give away their love makes a culmination of the balletto. The question coming forward out of it is whether this trick with separating one of the performers (Una delle ingrate) had influenced the libretto of Francesca Caccini’s balletto in which a spokeswoman performs analogously (Una delle piante incantate). Could this manner be transferred to other librettos as well? c) Also, the same word as in Monteverdi’s Ballo delle ingrate appears in the closing part of Caccini’s balletto – “…apprendete fede…“– Monteverdi uses “… apprendete pieta… “. What are the chances that this concurrence was accidental? Figure 21. Example from the ending of La liberazione.

66 CONCLUSIONS

5 Conclusions

In attempts to evaluate vocal melodics of reviewed balletto on a basis of the examples from the chosen roles, we concluded that at the time around the year 1625, Francesca Caccini had been using primarily recitar cantando and she had not been particularly interested in the symmetry that was entering the early operas in the first decade of the 17th century. This fact is surprising, considering that her father Giulio Caccini had not abandoned recitar cantando in his crucial opera Euridice (Florence 1600), however, being a famous singer, he had managed to project the symmetry principle in his Nuove musiche (Amarilli, mia bella). He had reached that principle already at the times of Monteverdi’s L’Orfeo (1607) and Arianna (1608). Even though Monteverdi proclaimed himself in the first place as “moderno compositore” through the extravagancies in the harmonics that divided Italy into two camps, by that time he had already come to the need of having a vocal line constructed symmetrically. In L’Orfeo it is approached by the midpoint of the opera, and the relict that arrived to us from Arianna, the lamento – is in fact one of the early da capo arias. That very moment appeared to be defining and dy- namic in the subsequent development of opera, which had been oriented in that direction starting from the second decade of the 17th century. Nevertheless, Francesca Caccini had not gone that way, at least in that minor part of her extant compositions. She had applied the principle of symmetry only in sinfonia, ritornels and choirs – the compositions with a dominating dance principle.

BIBLIOGRAPHY

6 Summary

The study features Francesca Caccini’s life and opera La liberazione di Ruggiero dall’isola d’Alcina. The research has shown that nowadays she is being rediscovered but there are still many gaps to fill in with the relevant information. The period at the court of Medici is well-studied thanks to the thorough documentation, but we do not know much about her life and music after she had left the court. The further investigation is complicated by the fact that most of her works are lost and her name does not appear documented anymore. The study of the circumstances, in which La liberazione was premiered, shows a lot of political concerns related to the balletto. An intense research on its premiere in Warsaw could help to open a new historical perspective. For the analysis of her music, we chose a method of comparison of certain excerpts from La liberazione with the analogous excerpts from Monteverdi’s operas. The question was whether or how much was Fran- cesca influenced by the contemporary movements such as seconda prattica or genere rappresentativo. The accomplished analysis demonstrates that recitar cantando was Francesca’s favorite approach in composing vocal music. It also exposes the presence of numerous similarities between the chosen balletto and Monteverdi’s works which leaves the questions for the further researchers, such as whether the rest of her pieces contain more analogies of that kind and for which reasons.

69 APPENDIX A

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Caccini, Francesca [online] 2009 [cit. 25. února 2021]. Dostupné z http://www.hoasm.org/VA/CacciniF.html

CUSICK, Suzanne G.: Caccini, Francesca [online] 2021 [cit. 1. března 2021]. Dostupné z http://www.oxfordmusiconline.com/subscriber/page/womencomposersatoz

GAMMAITONI, Milena. Francesca Caccini [online]. In: . [cit. 2021-02-28]. Dostupné z: http://www.enciclopediadelledonne.it/biografie/francesca-caccini/

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CACCINI, Francesca: La liberazione di Ruggiero dall´isola d´Alcina, Huelgas Ensemble, Sony Music Entertainment Germany GmbH, 2018.

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Appendix A

Document La musica del Regno di Bohemia discovered by Miloslav Študent.

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Appendix B

(1) Title page from La liberazione di Ruggiero dall’isola d’Alcina (fac-simile, Florence 1625).

80 BIBLIOGRAPHY

(2) “La liberazione di Ruggiero dall’isola di Alcina. Prima scena dove interviene Nettuno”. Prologue, designed by Alfonso Parigi in 1625. (Uffizi, Gabinetto dei Disegni e delle Stampe (further just GDS), n. 2303)

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(3) “Isola d’Alcina. Seconda muta delle scene”, (Uffizi, GDS stampe sciolte n. 2304).

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(4) “Isola d’Alcina ardente. Terza muta delle scene”, (Uffizi, GDS stampe sciolte n. 2305).

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(5) “Quarta muta dove escono dalle grott[e] i cavalieri e dame. Dopo escono i cavalieri a cavallo”, (Uffizi, GDS stampe sciolte n. 2306).

84 BIBLIOGRAPHY

(6) “Imperiale, villa della Sereni.ma Arciduchessa di Toscana”, (Uffizi, GDS 95789).